raiding the ragbag and sorting the stash

It was such a joy sharing with students from all over the planet in my first-ever online class (the Alchemist's Apron)  that I found myself dreaming up another one.

I know so many lovely dyers who simply cannot resist putting another morsel in the dyepot...and then    build up great mountains of delicious samples that rarely, if ever, see the light of day again. Which set me thinking.

It's time, my darlings.

Time to raid the ragbag for beloved discards from which you can harvest, and to sort out your stash and get ready to join pieces together to make fabulous frocks that are unique to YOU.

The class is called Conscious Clothing.  I'm literally dancing with excitement in my armchair about sharing my dressmaking tricks with y'all and I can't wait to see the gorgeous dresses that will be growing in the hands of makers around the whirled.

I've made the list of necessaries (and a wee video about dyeing while wandering) accessible to help you decide whether the class is for you. If you do dive in, the class is yours for life and there's also a Facebook sewing circle as extra support...the lovely thing is that you all bring so many skills to the table, and even though have a few reservations about FB, the fact remains that it is a very accessible means of connecting us all.

and as part of the first lesson, I've included a downloadable PDF of the wee pattern-cutting booklet I published (in a very limited edition of 100) some years ago. It contains the essence of how I make my clothes.

Will I see you there? I hope so.  At very least...do please click on the link above to read about the class. I'd love to know what you think of the idea.

feeding the indigo vat

when Ma left us to go on her next big adventure, among the stuff she left behind was a modest esky (across the ditch you'd know that as a chilly bin, across the puddle it might be a cooler, and I've never encountered one in Old Blighty so I've no idea what you might call it there)

it's a well-insulated device made of plastic. Ma used hers for fish bait, possibly also for gin.

the extendable handle is a bit rusty (and cannot be removed for restoration by boiling in a eucalyptus bath) but inside it was squeaky clean. as I pondered it, I had an idea.

 

it's very cold here in winter. we don't get snow very often but it's pretty nippy. I decided to liberate the esky and give it new life as an indigo vat. the insulation helps keep the temperature up and it's quite easy to rewarm it when it does cool down (three days of neglect and it's down to lukewarm) by standing one or two old wines bottle full of hot water in it. (hot stones are good, too, but more difficult to handle.)

and while my favourite indigo vat is made with bananas, they're rather pricey right now (usually cheaper in school holidays, as less lunches are being packed!) and so I am nourishing the vat with other substances. I'm a bear who likes to make the most of local resources, so (thanks to a conversation I had with Charlotte Kwon a few months ago, when she said the vat would probably be just as happy eating compost) I've been experimenting by boiling up the vegetable trimmings and feeding the liquor to the vat.

the chickens are delighted because they're getting cooked scraps :: much easier to eat!

celery and sweet potato

beetroot and pineapple peels

pouring in the brew (better to hold it closer to the surface and thus introduce less air, but trickier to photograph if you happen to be doing it all yourself)

the main thing is to keep it warm, check the pH and, as Michel Garcia so charmingly says, remember to feed the donkey before you put it to bed.

what are you feeding yours? I'd be interested to know.

journeying

it's nearly 9 years (next March) since Eco Colour (a book i wanted to call 'botanical alchemy' but was told the title wouldn't sell) hit the bookstores. in that time what i initially referred to as 'ecoprint' has spread far and wide. thousands of people are making a living by printing with plants.

hilariously, though i was the first to publish the technique* i usually see myself referred to as an "also ran" in various media. a recent book about natural processes in textile art listed me merely as a "practitioner" of the technique (though instructions for ecoprinting are scattered generously throughout its pages).

i've seen colleagues absorb my work into their teaching practices, and observed "fashion labels" created after people have taken classes....sometimes only a one day class.

and there are so many people out there teaching "ecoprinting" (though much of it is not ecologically sustainable at all, as toxic adjuncts are increasingly employed) that i no longer offer basic "how to" classes. it would be like having to play "twinkle, twinkle, little star" over and over again.

not much fun for me, and ergo less for my students.

which is how 'being (t)here' took root and has grown into a retreat class that embraces being fully present and at the same time exploring the poetics of place.
it gives me such joy to be able to offer something more than just a class about printing with leaves.

for me, 'being (t)here' is a way of experiencing the whirled that helps open the cracks that let the light get in (thank you Leonard, for that phrase) no matter where you are. it offers a pathway to beauty that can be rolled out whether you're in a verdant forest, a shimmering desert, an urban wasteland or your own private paradise.

we observe and see, write and draw, print and dye. we fold paper into books...  the island book fold and its bigger cousin the river book, making a journals from single sheets of paper :: without having to thread a needle.

together we make discoveries, in ourselves AND in the dyepot. the other lovely thing that's been happening is that many of the students keep in touch with each other after the workshops. sometimes they make a facebook group, sometimes a blog. others just wrestle with an email list. but they maintain the connections and forge deep bonds. it's wonderful.

i've been teaching less through institutions (though i remain loyal to a select few), and more in beautiful and sometimes unusual places. the Yellow Ferry is one of these. there is something deeply magical about being on a boat, which is why i will be back there in February 2017.
i've reduced the class numbers and though the feedback from many people is that they consider the fee too high, the investment for the class is actually the same as for the first one, it's just that i have sourced a richer collection of materials for each person to work with, with treasures such as a limited edition silkymerino dress to take home.
 as a business proposition it is laughable because the expenses won't balance against the income...but to me it is absolutely worth it for the experience we will all have.

because it is the journey that matters, in the end.

and i am loving the ride.



*you'll see references to "nature printing" that are earlier, but that is a technique where the plant is dipped in paint or dye and pressed against a substrate of some kind

wishwash

i get a lot of questions about the laundering of contact-printed cloth...should it be dry-cleaned, is the dye washfast, what's the best way of cleaning it etc

the answer, in short, is to treat your plant-dyed cloth as you would treat your own hair.

not too hot, not too cold. no harsh detergents, no greasy soap. because if you use either of those you'll need to rebalance the pH with a vinegar and water rinse afterward (which is kind of what conditioner does for your hair. they only make it gluggy so it won't run off your hand in the shower)

 

be gentle.

wash by hand or using the wool cycle on a front-loader.

i recommended Aesop's APC Fine Fabric Care on my labels, cos it smelled divine and was wonderfully gentle on cloth. so gentle, in fact, that i could have used it in the shower.

sadly though i seemed to be the only customer buying it and so they discontinued the lovely stuff.

their animal wash does the trick, but doesn't smell as nice.

the other important thing is to dry your cloth in the shade.

unless you are washing sheets, in which case peg em out in the sun and the wind.

they'll be crispy white and smell like heaven.

just remember to avoid the dry-cleaner like the plague. the process is neither dry nor clean and will have your favourite silk negligible sloshing around in a vat of petrochemical nasties along with the filthy trousers worn by a travelling salesman for four weeks and somebody else's vomit stained car seat covers.

yuk.

and have a nice day.

another gem

good heavens.

look at the date. it's been over a month this time.

that's because i have been away here

making food influenced by the landscape

and also some big splashes

and revelling in the light

now i am home where between storms and howling winds i am momentarily taking a break from trying to discover why (although the sky has been falling) we have no water in the tanks; to deal with the emails i haven't tackled on my batphone while i was away from the magical all-surrounding wifi.

and in the inbox i found this ::

1. How would you describe your work? 2. What is the best piece of advice you have ever been given? 3. When do you know/decide when a piece of artwork is finished? 4. How do you organise your time, what is a typical day? 5. What kind of environment do you work in? 6. In what way does the natural environment inspire you? 7. What advice would you given aspiring textile artist about to embark on their career? 8. Which artists inspire you, and why? 9. What books have you found useful and would recommend? 10. What would you say is the best natural mordent when eco printing on cotton? 11. I am looking to dye recycle fabrics/clothing what advise do you have?

sic. as in, i have pasted it here, unedited.

i did attempt to write back politely, if briefly...but now, fuelled by caffeine and cold weather and the rage induced by a nameless person stealing a pile of wood (cut laboriously with a chainsaw by my daughter) before it could be gathered in 

i am going to give it a proper go.

1. How would you describe your work? 

 this is copied and pasted from my website. i think it's pretty clear.

i use ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape - working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artefacts and hard detritus of human habitation, the local weed burden. the work has been described as using " the earth as the printing plate and time as the press"

2. What is the best piece of advice you have ever been given?
 if i may quote Maggie Smith's character from the Second Best Marigold Hotel
"never to give any"
 

3. When do you know/decide when a piece of artwork is finished? 

 if i had the answer to that i would have become a successful painter

instead of working into my paintings until they became mud and then giving up in disgust

4. How do you organise your time, what is a typical day? 

i wake, gently, in the morning and the housekeeper brings me a cup of tea. the resident masseur rubs my toes with fragrant oils. i luxuriate in a hot bath for a few hours, dress in some romantic and frivolous outfit, pick roses until it's time for lunch and then loll on the porch swing in a pile of cushions working my way through a pile of books. later i put on a freshly starched apron and totter into the kitchen to create a three course meal made from food gathered in my walled garden. 

(much later someone else does the dishes)

5. What kind of environment do you work in? 

everything is perfectly organised and easily found. there is not a speck of dust, no cats have played wildly with my best silk threads and nobody has peed where they should not. the fridge in the studio magically restocks itself, a pile of fresh dry kindling is always to hand and the interns are up before dawn sorting windfall leaves into neat piles, arranged by colour and size.

6. In what way does the natural environment inspire you? 

in every way. 

(today it is mostly inspiring me to go back to bed where it is warm.)

7. What advice would you given aspiring textile artist about to embark on their career? 

 think twice about supplying work on consignment to boutiques in glamorous locations that expect you to post it to them free of any charges, then put 250% commission on the work and when it finally sells, pay you at their leisure up to 12 months later. consider becoming a lawyer. or a gardener. it pays better.

8. Which artists inspire you, and why? 

those who make a living from their work.

9. What books have you found useful and would recommend? 

'Eco Colour' and 'Second Skin'. theOxford English Dictionary. also 'Holidays in Hell' by P.J O'Rourke and pretty much anything by Rebecca Solnit

 10. What would you say is the best natural mordent when eco printing on cotton? 

'mordent' is a musical ornament, a little wiggly thing that indicates the way a note should be played. i think i would find it tricky to use in a dye process 

11. I am looking to dye recycle fabrics/clothing what advise do you have?

hmm. as i understand it that is an acronym for a department in the US Homeland Security division.

if it's advice you're after, then here goes ::

know the plants you are using, and their properties

do not be seduced by toxic adjunct mordants

think carefully about wild harvest and whether it's worth risking a plant population just because you want pink. or some other colour.

do not steal all of the red/gold/purple leaves from underneath trees in public parks in the autumn/fall. they are there for everyone to enjoy (and usually taking leaf matter from a Botanic Garden is illegal anyway)

develop your own style. 

another gem

good heavens.

look at the date. it's been over a month this time.

that's because i have been away here

making food influenced by the landscape

and also some big splashes

and revelling in the light

now i am home where between storms and howling winds i am momentarily taking a break from trying to discover why (although the sky has been falling) we have no water in the tanks to deal with the emails i haven't tackled on my batphone while i was away from the magical surrounding wifi.

and in the inbox i found this ::

1. How would you describe your work? 2. What is the best piece of advice you have ever been given? 3. When do you know/decide when a piece of artwork is finished? 4. How do you organise your time, what is a typical day? 5. What kind of environment do you work in? 6. In what way does the natural environment inspire you? 7. What advice would you given aspiring textile artist about to embark on their career? 8. Which artists inspire you, and why? 9. What books have you found useful and would recommend? 10. What would you say is the best natural mordent when eco printing on cotton? 11. I am looking to dye recycle fabrics/clothing what advise do you have?

sic. as in, i have pasted it here, unedited.

i did attempt to write back politely, if briefly...but now, fuelled by caffeine and cold weather and the rage induced by a nameless person stealing a pile of wood (cut laboriously with a chainsaw by my daughter) before it could be gathered in 

i am going to give it a proper go.

1. How would you describe your work? 

 this is copied and pasted from my website. i think it's pretty clear.

i use ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape - working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artefacts and hard detritus of human habitation, the local weed burden. the work has been described as using " the earth as the printing plate and time as the press"

2. What is the best piece of advice you have ever been given?
 if i may quote Maggie Smith's character from the Second Best Marigold Hotel
"never to give any"
 

3. When do you know/decide when a piece of artwork is finished? 

 if i had the answer to that i would have become a successful painter

instead of working into my paintings until they became mud and then giving up in disgust

4. How do you organise your time, what is a typical day? 

i wake, gently, in the morning and the housekeeper brings me a cup of tea. the resident masseur rubs my toes with fragrant oils. i luxuriate in a hot bath for a few hours, dress in some romantic and frivolous outfit, pick roses until it's time for lunch and then loll on the porch swing in a pile of cushions working my way through a pile of books. later i put on a freshly starched apron and totter into the kitchen to create a three course meal made from food gathered in my walled garden. 

(much later someone else does the dishes)

5. What kind of environment do you work in? 

everything is perfectly organised and easily found. there is not a speck of dust, no cats have played wildly with my best silk threads and nobody has peed where they should not. the fridge in the studio magically restocks itself, a pile of fresh dry kindling is always to hand and the interns are up before dawn sorting windfall leaves into neat piles, arranged by colour and size.

6. In what way does the natural environment inspire you? 

in every way. 

(today it is mostly inspiring me to go back to bed where it is warm.)

7. What advice would you given aspiring textile artist about to embark on their career? 

 think twice about supplying work on commission to boutiques in glamorous locations that expect you to post it to them free of any charges, then put 250% on the work and when it finally sells, pay you at their leisure up to 12 months later. consider becoming a lawyer. or a gardener. it pays better.

8. Which artists inspire you, and why? 

those who make a living from their work.

9. What books have you found useful and would recommend? 

'Eco Colour' and 'Second Skin'. theOxford English Dictionary. also 'Holidays in Hell' by P.J O'Rourke and pretty much anything by Rebecca Solnit

 10. What would you say is the best natural mordent when eco printing on cotton? 

'mordent' is a musical ornament, a little wiggly thing that indicates the way a note should be played. i think i would find it tricky to use in a dye process 

11. I am looking to dye recycle fabrics/clothing what advise do you have?

hmm. as i understand it that is an acronym for a department in the US Homeland Security division.

if it's advice you're after, then here goes ::

know the plants you are using, and their properties

do not be seduced by toxic adjunct mordants

think carefully about wild harvest and whether it's worth risking a plant population just because you want pink. or some other colour.

do not steal all of the red/gold/purple leaves from underneath trees in public parks in the autumn/fall. they are there for everyone to enjoy (and usually taking leaf matter from a Botanic Garden is illegal anyway)

develop your own style. 

eco, schmeco...ranting about plastic, rust and other things

i'm beginning to wish i hadn't given the name 'ecoprint' to the contact print that results when eucalyptus leaves are heated together with cloth in a damp environment.

since i first observed the phenomenon back in the early nineties the word 'ecoprint' has been adopted by countless commercial printing houses

and these days it seems everything is 'eco'

what concerns me too is that the method i've been teaching [which does not employ synthesized adjunct mordants] has been adopted by others who seem to be less concerned than i am about environmental concerns and student safety

if you teach, you have a duty of care

the bottom line is : printing with leaves using toxic adjunct mordants and layers of plastic is not environmentally sustainable*

and students participating in classes where fabrics pre-mordanted with Ferrous sulphate and layered with plastics for "clear leaf prints" may like to consider that as these bundles are heated, the vapours given off comprise a toxic cocktail of polyethylphthalates as well as the poisonous mordant in combination with whatever plant matter is being used. it is to be hoped that the latter has been identified and that toxic plants are being avoided but either way...you're breathing it in. i worry too about those teaching these methods...  Ferrous sulphate is a cumulative poison.

not all eucalypts are safe to use either...some contain cyanatogens, others offer small quantities of arsenic and E. nitens has been implicated as a possible carcinogen

remember that if you can smell something, you are breathing it in...and that the surface area of your lungs [if they were opened out] allegedly approximates that of a tennis court

i know that microscopic amounts are used to treat anaemia but overexposure to Ferrous sulphate can cause 

irritation eyes, skin, mucous membrane; abdominal pain, diarrhea, vomiting; possible liver damage 

is it worth it?

i use found iron as co-mordant to achieve dark colours. archaeological evidence supports this. time and again you'll read in texts about discoveries that cloth found in proximity to metal in the absence of oxygen was best preserved. whereas traditional plant dye advice was always to be cautious about using Ferrous sulphate  as it makes cloth brittle

iron soaked in an acid solution [vinegar, fermented fruit waste or an exhausted leaf-based dye bath] makes a safe mordant for dark colours

the current craze for rust has me worried too. rust particles are sharp and if breathed in, can cause bleeding of the alveoli [those little things in your lungs that take up oxygen]. be careful with it. and avoid wearing cloth that has been 'rust printed'. remember that your skin is your biggest and most absorptive organ

do your homework, make sure you are well informed and stay safe. 

and if you want clear leaf prints, put recycled paper between the layers. you'll have the bonus of making something gorgeous to write on.

* yes i am aware that my extensive travel is not sustainable. that's why i plant trees. lots of trees.

reflecting on deep things

i had an email this morning from someone who required to know whether my books were printed on recycled stock.
she wrote :

"I am curious. Are your books printed on recycled paper and with other eco-friendly materials? I have Eco Colour but borrowed Second Skin from the library. They look like they were expensive productions. Please tell me they are produced with recycled paper and earth friendly inks and materials."

i wrote back and explained that the Australian edition of Eco Colour and the first edition of Second Skin were indeed printed on recycled stock and with vegetable inks but that the United States edition of Eco Colour wasn't [it was out of my control along with the advertising that appeared in the back of the book much to my surprise : for the record i do not endorse any of the advertised products] and that the second edition of Second Skin wasn't either [due to management changes at Murdoch Books]

but afterward i wondered whether she was typing her message on a computer made from recycled parts and using only earth-friendly energy? hmm.

and is there a reason why a book made from recycled paper should not look sumptuous?

that would imply that those of us who choose to wear environmentally 'friendly' clothing should perhaps dress in sackcloth so that we don't look too elegant. [admittedly my family too frequently observes that i look as if i am wearing a sack but that is another matter. entirely.]

the Blurb books are not printed on recycled stock. nor are the inks made from plants. i accept this is a drawback. on the bright side, though, the "print on demand" platform means that there will not be warehouses full of remaindered books rotting away because nobody wants them.

i've had that problem before, having overestimated the catalogue numbers for the exhibition 'watermarks' back in 2008. fortunately they were printed on recycled stock with vegetable inks so the box of extras [which nobody wanted at the time] made environmentally friendly [if expensive] weed suppressants in the garden.

i was hoping that 'shapeshifter', the handbook about clothing that i am preparing to publish in the Australian spring could be printed using as environmentally responsible means as possible.
that it would be a limited edition available by direct subscription, even if that meant i had to package them all personally [unlike Blurb which has printing houses dotted around the whirled and does all the packaging and mailing]

i'm still debating whether i will be able to fund it myself or whether to dive into something like Kickstarter. or whether i should go that road at all.

the cold hard fact is that though it's really exciting for me each time some kindly person buys a book, total sales [of all titles] through Blurb so far this month number only 352 and 30% of those were 'e' books or PDFs.  in order to keep the unit cost reasonable [so that with postage it is affordable as well as returning something on the investment of my time] i would need to have at least 1000 printed. and there wouldn't be an 'e' version. the thought of investing it what may become yet another pile of unwanted weed suppressant is somewhat dispiriting, so in the interests of market research...

what are your thoughts, oh gentle readers?

make a huge financial investment in eco-sustainable printing the hope of breaking even?

or stick with Blurb?

neither way is perfect. neither am i. but as i wrote to the correspondent above, i'm doing the best i can.



+

don't forget folks, those of you who have bought the Bundle Book still have until August 3 to enter that lucky dip for one of three ecoprint tsunobukuro bags, details
 here

 PS this dam was constructed by bulldozing legend Sam White for my father back in 1997. the bulldozer is not, in all honesty, and environmentally friendly tool, but in the hands of those above it created a very beautiful place for quiet reflection...even if that goat insists on coming along for a walk.

an unexpected event

this is not the sort of thing you want to see

when you are flying over your home patch

the Eden Valley fire ignited about 11am on January 17

[about the same time as i arrived at Adelaide airport]

by the time my flight was in the air

it had grown to a substantial blaze

thing is, when 13 people are relying on you to show up wearing you best set of bunny ears

there's really no option of pulling the plug and heading back home into the smoke

i have my fingers crossed that my family will be sensible

and for now at least the wind has changed

[which just means that it's a completely crap situation for somebody else]

after a sleepless night in Wellington

and a quick totter down Taranaki street to Te Papa

for some calming Colin McCahon therapy

 i hopped the straits to Nelson

to be wrapped in a huge warm welcome 

which made me feel a whole lot better

[on the way at the airport i taught a woman how to make string

because she was fascinated by what i was up to -

she hopped on her flight with a handful of wet silk shreds

and much enthusiasm, bless her]

anyway the fire is not the unexpected event. 

in Australia it's not a question of "if" the country will burn

but "when".

that's how it is.

the unexpected event

[title deliberately purloined from Tolkien]

was this

a parcel

addressed to me

from kowtow

a clothing company based in Wellington

there was a sweet note

and beautifully packed

between deliciously rustling tissue paper

two gorgeously soft timeless fabulous pieces

made from Fairtrade Organic cotton

and in a very comfy size.

thank you kowtow

i know where i will be shopping for simple

soft but sturdy things to wear

under winter layers

or for soft spring afternoons

[in summer i do a complete cover up]

i think our work goes very well together!

giving thanks

giving thanks for things

thank you for all the friendly emails from folks who assure me that they do like to swing by this sometimes vacant lot in the hope of a story and for the kind words they leave in return

giving thanks for kind friends who have loaned me a baritone saxophone for the rest of my stay here in Portland

though the squirrels in the ceiling are not impressed.

giving thanks that i had done my yoga on Sunday morning
so that when i was affected by gravity on these stairs

and landed suddenly at the bottom
bent the wrong way and with my head making contact with the door jamb
i was properly flexible and nothing broke. not even the spectacles that fell out of my pocket

also thankful that i had a bag of frozen leaves in the ice-box
[frozen leaves make a much better ice-pack than frozen peas]

i think it was the Dogs Above telling me
slow down
look before you leap in
a timely reminder that we are really about as durable as a splash in the river

giving thanks, too, that i will be going home at the end of next week
home where my folks are
home to a long-overdue reality check
where my chillun will poke me if i get too full of myself
where my cat will [i hope] leap on to my suitcase
and glare at me, defying me to touch it [the suitcase, not the cat. she will require pats]
and where i can go and sit down in a paddock at sunset
knowing that sooner or later
a certain chocolate coloured someone with big feet will wander up behind me
blow warm grassy breath down my neck
and then rest her big velvet muzzle on my head

it will be summer
and warm
and i am going to spend most of it in this dress
that i have worn so much, the cloth along the seams was disintegrating

it is cotton, the kind that is fuzzy inside
bought for a song from a purveyor of remnants
because it was stained. [chuckles]
so after mending
and before dyeing

i drew on it with remnants from the kitchen

a turkey baster is useful for writing
[and for transferring indigo if you are attempting to emulate Hiroyuki Shindo's pool-dyeing methods]
and you can make moonstones
i love moonstones

even the ones that don't last


anyways
the dress turned out rather nicely
with a pleasant contrast between the SilkyMerino repairs, the silk stitching
and the worn cotton background

even the interior is nice [above and below], so it is now reversible as well

i dyed some cloth for labels in the same pot
ready to stitch with my name and a numerical code
that identifies the garment. something to do on the long plane ride.

the traditional Japanese saying "never throw away a piece of cloth big enough to wrap three beans" translated here to "use the little leftover bits for labels"

 

and before you ask
i have no idea what made that mauve


lastly
words of wisdom
found at Imogene and Willie

i'm taking that one to heart.

Happy Thanksgiving.